Telyn Wrachïod Urquhart gan Ardival / Urquhart bray harp by Ardival. Recordiwyd gan Jethro Chaplin ar y 24ain o Awst 2023, yn Stiwdios Mwnci, Dolwilym. Recorded by Jethro Chaplin on the 24th of August 2023, at Mwnci Studios, Dolwilym. Ôl-gynhyrchwyd gan / Mastered by Sam Grant. Dylunio gan / Design by Anna Peaker. Darlun gan / Drawing by Jean-Luc Guionnet. Mae Cildraeth Sienco yn fyrfyfyriad sy’n seiliedig ar gyfuniad o nodiant a strwythur y darn Brandy Cove gan Angharad Jenkins â thiwnio tannau amgen ‘Cywair yn Nghywair y Wrach’ o lawysgrif Robert ap Huw. Cildraeth Sienco is an improvisation based on an amalgamation of the notation and structure of Angharad Jenkins’ Brandy Cove with the alternative string tuning of ‘Cywair yn Nghywair y Wrach’ from Robert ap Huw’s manuscript. Diolch i / Thank you to: Nia Daniel, Richard Dawson, Carl Ludwig Hübsch, Angharad Jenkins, Dafydd Roberts, Catrin Rowlands, Soundtrips NRW, Bill Taylor, Fern Thomas, Amy Treharne, Daniel G. Williams.

Jem Finer's album Hrdy-Grdy is the first physical release for Thanet Tape Centre:C52 blackberry purple cassettes with white, onbody printing on both sides, clear cases with two sided j-cards. Written, performed, recorded and produced by Jem Finer with a hurdy-gurdy and a small collection of electronic devices. & The Long Unbroken Short Now: A5 32 page full colour booklet with Essay by Jonathan P Watts and images by Benedict Drew

A masterclass in sound and texture from the Stockholm-based duo of John Chantler and Daniel M Karlsson, recorded at OTO in December 2023, following on from their ‘Hell or High Water’ release on Chantler’s 1703 Skivbolaget label the same year. From a dual synthesiser setup, the pair craft an incredibly naturalistic atmosphere - electronics not so much imitating organic sounds as creating their own little pocket of life, fully realised. The set slowly awakens like frozen ground thawing in the first spring sun; little sonic tendrils budding and reaching and gradually coalescing together in symbiosis. Ebbing and flowing, the momentum builds inexorably in ever-intricate patterns of tension and release; fractal forms unfurling and intertwining with a density that never collapses into aimless blowout even when the volume reaches a tumultuous peak. Finally, energy expended all at once, the piece falls back into a last cluster of sighing tones, and the day is done. -- Recorded by Billy Steiger Mixed and mastered by Daniel M Karlsson

A timely new book of ten essays stemming from the second edition of the Radical Sounds Latin America festival, which took place virtually in October 2020. Writers, academics and musicians discuss new perspectives on Latin American music, with essays tackling case studies and research in Guatemala, Belize, Honduras, El Salvador, Nicaragua, Costa Rica, Panama, Brazil, Mexico, Peru, Argentina and Guajira peninsula.

Hyperdelia is happy to present Sun Kit’s debut record All The Patterns Inside. Sun Kit is an experimental band, formed in Berlin. The band consists of Jules Reidy (guitar) and Andreas Dzialocha (bass) and fuses both artists' singular sounds. Their debut album All the Patterns Inside is a moody and ecstatic ride that navigates distance and closeness, breaking and re-forming.The record was produced completely self-sufficiently at home, the two sending each other recordings and sketches back and forth, mostly as direct input signals. These layered interactions gradually turned into songs which increasingly were abstracted through electronics, filterings, effects, autotune and a whole lot of distortion. As a result, the album holds song-like structures with vocals (such as the title track, “Vain” or “Red”), electronically powered hyper-ballads (as on “Springtime Rain” or “Tunnel Vision”) as well as more grainy tracks which highlight the band’s experimental side (“All In”, “Release”).Sun Kit started as a friendship project of two musicians who traverse similar musical communities in Berlin. Hyperdelia has provided a home to both artists before through the Serenus Zeitblom Oktett (HEX 001), Andreas Dzialocha’s solo record For Always LP (HEX 005) as well as Stellan Veloce’s Complesso Spettro (HEX 006). All The Patterns Inside now shows Andreas’ and Jules’ different instrumental aesthetics in a band context. Consequently, Sun Kit teases out both musicians’ sonic sensibilities, highlighting the spectral complexities of their two instruments, an admiration for the engulfing power of distortion and a deep fascination for sound detail. Paired with Jules Reidy’s lyrical conjuring of seasonal change – its emotional intensity and healing powers –, Sun Kit at times takes inspiration from Low’s edgy mellowness, Cocteau Twin’s ethereal echoes or reminds of My Bloody Valentine’s blurred inwardness. All The Patterns Inside is the result of a friendship becoming band, a debut record thick with twists and turns and one bursting with feels.  --- Music by Andreas Dzialocha and Jules ReidyLyrics by Jules ReidyMixed and mastered by Joe Talia at Good Mixture --- Thank you Arthur Janssen, David Walker, Johanna Markert, Malte Kobel, Marta Forsberg, Sarah Saviet, Shusha, Silvia Maggi

Reet’ is a lost treasure of late 1960s folk/psych-folk. The only album she ever put to tape, with clear pure voice and guitar. luckily recorded by Andres Raudsepp in 1969. Reet will be loved in the same breath as ;Sibylle Baier, Vashti Bunyan, Molly Drake & Bridget st John. Reet Hendrikson deserves wider listening and we hope this reissue will help . Reet Hendrikson was born in Estonia only months before the “great escape” into exile in 1944. Brought up and educated in Sweden, she went to study in the US in 1967 on a Fulbright scholarship, before she made her mark as an Estonian musician in Canada. While her arrangements of Estonian folksongs on the guitar reflected the styles of the sixties, her voice and choice of material sounded authentic and made a connection with ages past. When Hendrikson arrived in Canada in 1968 via the US, her Estonian was native-like because of the high quality of Estonian schools in Sweden. She was thus able to characterise the identity of young ex-patriate Estonians – especially those born in exile from Soviet occupation – in a new and meaningful way. A formal musical background allowed her to create the arrangements that accompanied her simple but pure singing voice. Having heard her under northern Muskoka pines at an Estonian summer seminar, it didn’t take Andres Raudsepp ( of raindeer records) long to bring her to a recording studio. “Reet – Estonian folksongs” appeared in 1969. Hendrikson soon found her way to the scholarly atmosphere of Boston where, as a multi-instrumentalist, she joined a group of musicians who favoured traditional folk music. Back in Sweden in the 1980ies, she was invited to join a scholarly society of Estonian young women, which she led during musical sessions. She visited Estonia as frequently as possible, trying in particular to be helpful to Estonian musicians by providing sheet music and much-needed repertoire from the Swedish National Radio Archives, where she worked for a while.. Reet Hendrikson died in Stockholm in the autumn of 2000.